Proceedings of 2nd International Symposium for Color Science and Art 2020

A Critical Assessment of German Classic and Modernist Ideasof Colors
Masato Ogawa
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan
relationship of light and darkness(439a). Goethe’s Theory
is rooted deeply on the Aristotelian tradition of philosophy.
2.2 Polarity of colors
Goethe formulated “Farbenkreis”, based on the idea ofdualistic opposition of colors, not later than July 1793. He
explained it in §50 of “Didaktischer Teil” 1808 as it follows:“Considered in general point of view, color is determined
towards one of two sides. It thus presents a contrast which
we call a polarity and which we may fitly designate by theexpressions plus and minus.”[2] Later he wrote on thechromatic opposition in a notebook of natural scientificstudy(1817-22), and characterizes the colors in oppositionas “colors which demands each other”, and calls them“complementary” [3]. Goethe is counted as the earliest
proponents of the notion “complementary colors”.

ABSTRACTThis paper contributes to reevaluation of Germanclassic ideas of colors, especially of Goethe. First, theoutline and feature of Goethe’s theory of color is described.
Next academic relation between Goethe and Hegel oncolor is considered from the development of Hegel’s
philosophic logic. Then we compare some modernist
remarks on German classic thoughts of color fromcontemporary Aspect.
1. INTRODUCTION
Goethe (1749-1832), well known as the writer of theplay “Faust”, devoted his energies not only to literature
work, but has occupied himself also a good deal withstudy of the natural sciences. The science of colors is forhim beyond a principle subject matter. It is rather his lifework. Today, his attacks on Newton’s theory of colors
turned out to be fundamentally flawed, whereas his masterwork “Zur Farbenlehre”(1810) privides even now various
inspirations for scholars and artists. This paper
reappraises German classic and modernist ideas of colors
from the contemporary philosophical point of view.

3. GOETHE AND HEGEL
3.1 Hegel as an apologist for Goethe
Goethe’s “Zur Farbenlehre” could not have a good
reputation just after its publication. It was refused by not afew scientists except for a tiny minority of exceptions. Insuch a difficult circumstance little number of scholars tookside of Goethe. But one of them is Hegel (1770-1831).
In the part of philosophy of nature in “Encyclopedia ofphilosophical sciences” (1830) he expresses his approvalof Goethe’s criticism of Newton’s Theory [4]. He
acknowledges himself to be an apologist for Goethe
saying that “it is to Goethe we owe the theory of color
adequate to the notion. He was early drawn to study ofcolor and light, especially in connection with painting; andhis pure, simple feeling for nature, the first requirement fora poet, forced him to oppose barbarisms of reflection suchas we find in Newton.” [5] Hegel also understands color,basically following the doctrine of Goethe, with regard to
the dualistic relation of light and darkness.
3.2 Hegel’s approaching to Goethe’s theory
Hegel’s during his life time unpublished manuscripts oflectures on philosophy of nature(1803/04) indicates that
already in 1803 Goethe’s theory of color was mentioned inlectures [6]. Indeed, It is a noteworthy evidence, because
Hegel referred to it before its publishing to the generalpublic. But a simple question arises at the same time: howand when he got aware of it. There is a speculation, whichis given by the editorial note of Hegels Gesammelte Werke
Band V, that he was already in his early days informed of it
by a philosopher Schelling (1775-1854), who agreed with

2. GOETHE ON COLOR
2.1 Origin
Goethe’s gigantic work “Zur Farbenlehre” is nominatedfor the most important contribution to the science of colors.
A distinguishing feature is his systematic understanding ofcolor phenomenon, which is represented especially by his“Farbenkreis” (color circle) with the notion of polarity.
Goethe’s inquiry into colors had many years duration,
before the publication in a form of the book in 3 volumes
1810. His academic activity on colors began from a small
discovery in January 1790. He did an experiment withprism, in order to test out Newton’s doctrine of colors. The
observation and judgement then played a crucial role in
the formation of Goethe’s ideas of colors. His investigation
was motivated by a conviction that colors originate fromlively interaction of light and darkness, white and black. [1]The idea of dualistic constitution of chromatic system
can be traced back to Aristotle. Aristotle, who analyses
colors and human senses in “Περὶ Ψυχῆς” (On the Soul),defines in “Περὶ αἰσθήσεως καὶ αἰσθητῶν” (On Sense andthe Sensible) color (χρόα) ; “the limit of the translucent indeterminately bounded body” (439a). He explains thegenesis of various colors with respect for the oppositional

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Proceedings of 2nd International Symposium for Color Science and Art 2020
Goethe’s polemics regarding new scientific researches ofcolor. [11] It just turned out in this research project that theGerman classic ideas of colors, in particular Goethe’s
theory of colors, contain various remarkable points fromcontemporary viewpoint.

Goethe on his criticism against Newton [7]. Hegel’s
acknowledgement of Goethe’s theory is dated possibly
earlier than 1803.
3.3 Hegel’s philosophy of arts
Hegel mentions Goethe’s theory in his lectures on
philosophy of Arts too. He says as following: “Now thebeauty of their [=direct opposites, like yellow and blue]
harmony consists in avoiding their sharp difference andopposition which as such is to be obliterated, so that intheir differences their unison is manifested. For they
belong together, since color is not one-sided, but anessential totality. The demand of such a totality can go sofar, as Goethe says, that even if the eye has before it only
one color as its object, it nevertheless subjectively sees
the others equally.” [8] The idea of “essential totality” ofcolor plays a principal role in the formation of his theory of
Aesthetics, also in the development of the dialectical
logical thought of philosophy.

5. REFERENCES[1] “Wie sich die einzelne Farbe auf Licht und Finsternis
als ihre erzeugenden Ursache beziehen: so bezieht
sich ihr körperliches, ihr Medium, die Trübe, auf dasDurchsichtige.” (J.W.v.Goethe, Die Schriften zur
Naturwissenschaft [Leopoldina], Verlag Hermann
Boehlaus Nachfolger Weimar, Abt.1, Bd.8, S.226-7)[2] J.W.v.Goethe, Die Schriften zur Naturwissenschaft[Leopoldina], Abt.1, Bd.4, S.50 (“Goethe’s Theory ofColor” translated by Charles Lock Eastlake, 1840
(Cambridge Uni. Press, 2014) p.21)[3] J.W.v.Goethe, Die Schriften zur Naturwissenschaft[Leopoldina], Abt.1, Bd.8, S.190[4] G.W.F.Hegel “Enzyklopädie der philosophischenWissenschaften” Zweiter Teil “Naturphilosophie”[StW609] Suhrkamp Verlag S.246f. (Hegel’s
Philosophy of Nature. Part 2 of The Encyclopedia of
the Philosophical Sciences(1830) translated by A. V.
Miller, Oxford Uni. Press 1970, p.199)[5] Ebd. S.255f. (Ibid. p. 206)
[6] G. W. F. Hegels Gesammelte Werke Band V, Felix
Meiner Verlag Hamburg 1975, S.83
[7] Ebd. S.367[8] G.W.F.Hegel “Vorlesungen über die Ästhetik” [StW613]
Suhrkamp Verlag S.187f. (Hegel’s Aesthetics.
Lectures on Fine Art. Translated by T. M. Knox,
Oxford Uni. Press 1970, p.141)[9] Carl Friedrich von Weizsäcker “Einige Begriffe aus
Goethes Naturwissenschaft” (in: Goethe Werke[Hamburger Ausgabe] Bd.13, Verlag C. H. Beck
München, 1981, S.539-555) S.539f.
[10] Ludwig Wittgenstein “Remarks on Colour” edited byG.E.M. Anscome, translated by M. Schättle.
Blackwell Publishing, 1977, p.125, p.24.
[11] Dennis L. Sepper “Goethe contra Newton” Cambridge
Uni. Press 1988

4. SOME MODERNISTS’ REMARKS
4.1 Influences
German classic ideas of colors, esp. by Goethe, areeven today giving rise to many debates on the essence ofcolor. For example, the theory of dualistic opposition ofcolors, which is shared between Goethe and Hegel, leads
to Evald Hering’s “Gegenfarbentheorie” (theory of coloropponency) in 1878
Besides, the color education in the BAUAUS school in
Weimar and Kassel succeeded to the classic ideaof color.
4.2 Weizsäcker
In 20th century, a german physicist Carl Friedrich vonWeizsäcker (1912-2007) admits Goethe’s failure in hispolemic against Newton, whereas Weizsäcker stresses
that the concept of totality in Goethe’s theory doesn’t lose
its meanings. [9]4.3 Wittgenstein
Another remarkable example is Wittgenstein (18891951) and his philosophical investigations on colors. The
philosopher studied very late in his life Goethe’s “ZurFarbenlehre”. He was then a critically ill patient, but he had
started on a philosophical book on color; “Remarks onColor”. He mentions everywhere in the book Goethe’stheory of color. For instance, “Goethe’s theory of the originof the spectrum isn’t a theory of its origin that has proved
unsatisfactory.”(3rd Part §125) “We do not want toestablish a theory of color, but rather than the logic of color
concepts.”(1st Part §22) [10] In these sentences,
Wittgenstein expresses in his own style his approval
towards Goethe’s theory of color.
5. CONCLUSION
Goethe’s approaches to color, which we might callsubjective and aesthetic one, have been recently
reevaluated by some scholars. D. L. Sepper reassessed24